The Forger
by Takada Saiko
Summary: Raymond Reddington continues to try to rebuild the empire that Kaplan burned to the ground by reaching out to Vanessa Cruz while Liz and the Task Force track down a company capable of completely erasing all traces of an identity. Set early in S5. Full cast. Script format.
1. Teaser

**Notes**: Just under a year ago I started in on a spec script (a script written on 'speculation', meaning you're not being paid for it) to use for several fellowship applications I was submitting. I needed to pick a current show that I felt like I knew well enough to write the equivalent of a filler episode episode for and the Blacklist felt like a no-brainer for that. I've been dying to share, especially since I haven't written anything for the Blacklist fandom in a while now, but I wanted I didn't want to compromise my applications by posting it. The results are in for this year's round of fellowships and so here we are. I'm going to post each act as a chapter in a five+teaser format. Apologies if the formatting is a little... odd. Final draft does not translate well to fanfiction sites, apparently. It took some work.

I hope you guys enjoy!

* * *

**TEASER**

INT. OPEN OFFICE SPACE - DAY  
The room buzzes with activity. Employees are on calls, processing paperwork, and scribbling notes. On the surface, it looks like any corporate office.

JEMMA (late 20's) is going over a set of files pulled up on her double monitors. She's dressed in a suit that doesn't hang quite right. Her nails are chipped and she's chewing anxiously on a pen. Her co-worker STAN (40's) sits across from her.

STAN  
You hear back from Eric over at the social security office?

Jemma looks up, startled.

JEMMA  
Huh? What?  
(then)  
No. Not yet.

STAN  
We need it for the Tallert case.

JEMMA  
Yeah, I know.

She stands abruptly and he looks over.

STAN  
Going somewhere?

Jemma is already on her way to a set of heavy, wooden doors at the far end of the office space.

JEMMA  
Smoke break.

STAN  
Those things are gonna kill ya.

INT. OFFICE LOBBY - CONTINUOUS  
The same wooden doors open and Jemma empties out into an enclosed lobby. The receptionist behind the desk smiles, wide and fake. Her voice is chipper.

RECEPTIONIST  
Where are you heading, Jemma?

JEMMA  
Smoke.

RECEPTIONIST  
Do you need your phone out of the vault?

JEMMA  
No.

She uses her security badge - the name JEMMA GREEN visible with her photo - to buzz herself out. The receptionist's gaze follows her into the elevator lobby. As Jemma turns back, the receptionist's plastic-y smile widens.

EXT. MANHATTAN - FINANCIAL DISTRICT - DAY  
Jemma exits the building and crosses the street. As she passes a trashcan she drops her security badge into it without missing a beat.

INT. UPS STORE - DAY  
Jemma moves immediately to the desk.

JEMMA  
Box 102.

The man behind the desk hands her a key and she opens BOX 102, pulling out an envelope and a phone. She glances at the distracted UPS worker before opening the envelope to reveal a passport, a driver's license, and credit cards. The documents have her face and the name AMY WEINBERG on them. Satisfied, she slips them back into place.

EXT. OUTSIDE THE UPS STORE - DAY

Jemma exits the store, eyes fixed on the new burner phone. NO SERVICE. That's not right.

MARCUS (O.C.)  
You have one chance to save your life, Jemma.

A man falls into step with her, his voice drawing her attention. This is MARCUS. He's in his mid 50's, slim, and successful. Unlike hers, his suit is tailored to fit him.

JEMMA  
Marcus. I just want out. I'm not gonna say anything.

MARCUS  
That's not how it works. You knew that the day you took the job.

Jemma holds up the phone.

JEMMA  
Did you do this?

MARCUS  
The identity that you used our resources to make has been scrubbed. I'm giving you a chance most employees don't get.

JEMMA  
Because you need me.

MARCUS  
You're good. One of the best I've seen, but no one's irreplaceable.

He lets that sink in before putting a hand on her arm to guide her. She tenses, but doesn't pull away.

MARCUS (CONT'D)  
Come along, Jemma. Let's get back to work.

**END TEASER**


	2. Act One

**ACT ONE**

INT. OLD BOOKSTORE - DAY  
The bell rings overhead as LIZ KEEN enters the bookstore. The place is crowded with books, not people, the merchandise overflowing from shelves to the floor.  
The only soul to be seen is a man behind the desk that looks like he's grown into a permanent fixture there. Liz opens her mouth to ask a question, but before she has the chance he points to the back of the shop.

She nods her thanks and follows his wordless instruction, weaving around the stacks of books until she reaches the back. There's a small space behind the last row of shelves where she finds RAYMOND "RED" REDDINGTON and DEMBE ZUMA sitting at an old, rickety table with a game of chess between them.  
The two men are absorbed in their game, the battered pieces set at war between them. Liz stands there for a beat, neither of the men noticing her until she clears her throat.

LIZ  
Am I interrupting?

RED  
Elizabeth! Dembe and I are just finishing our tie-breaking game.

LIZ  
Tie-breaker? It's 10AM. When did you start?

DEMBE  
Six.

RED  
Not here, of course.

Liz's gaze drifts to where his baseball cap is half covering the book next to him: _The Count of Monte Cristo_.

Reddington notices her gaze and taps the book.

RED (CONT'D)  
Have you read it?

LIZ  
The Count of Monte Cristo? It's been a while.

RED  
Such a fascinating story. A man falsely accused and sent to prison. He's able to slip that troublesome identity to build another entirely of his own design, bringing his enemies to their knees.

DEMBE  
Checkmate.

Red's attention is dragged back to Dembe and the chessboard.

LIZ  
You said something about a case?

Red sighs, conceding defeat on his game.

RED  
A person's identity can make or break them, and slipping one can be... freeing, even if you never truly escape who you are. If anyone comes close in helping someone do just that, it's Pharaon.

LIZ  
Like the ship from the book?

Red's amused, maybe even a little proud of the connection.

RED  
Someone may have been a fan, but no. Pharaon is the name of your next blacklister.

INT. POST OFFICE - DAY  
DONALD RESSLER, ARAM MOJTABAI, SAMAR NAVABI, and HAROLD COOPER stand in the middle of the war room, Liz in front of them. The large monitors are strangely blank.

LIZ  
Ellis Mitchum and Robert Canniery.

ARAM  
I haven't been able to find either in any of our databases. No birth certificates, DMV records, tax records... it's not just that they're living off the grid, it's like they don't exist at all.

LIZ  
According to Reddington, they don't. At least not anymore.

RESSLER  
So Reddington's giving us dead blacklisters now?

LIZ  
No. He believes that both men hired an organization known as Pharaon to completely wipe their identities and build new ones.

RESSLER  
I don't guess he said why?

LIZ  
Canniery was a contract killer while Mitchum was a money launderer. Apparently both had hits out on them when they vanished.

COOPER  
If this is Pharaon's usual clientele, we could take a lot of dangerous people off the street.

In the background we hear the sound of the lift arriving.

SAMAR  
Finding them is going to be the problem. An organization like that would have layers of security to hide under.

TOM (O.C.)  
That's pretty much how it works.

The team turns to look as Tom enters from the lift.

LIZ  
One of Pharaon's clients is St. Regis. That's our in.

ARAM  
(re: Tom)  
The organization you worked for?

Tom offers a thin smile and a nod, confirming it.

COOPER  
Tom, were you able to make contact?

TOM  
Yeah. I still have access to an old alias built through Pharaon.

RESSLER  
So you've met them before?

TOM  
Not face to face.

ARAM  
Won't they know that you're, uh... not working with St. Regis anymore?

TOM  
Probably not. Covert organizations don't exactly broadcast when their top operative leaves to marry a federal agent.

COOPER  
I'm still sending backup.  
(to Liz)  
Should we expect Reddington in the middle of all of this?

LIZ  
He said he had somewhere to be.

EXT. GRAVEYARD - DAY  
It's a beautiful afternoon. Quiet, save for the birds in the trees that cover the graveyard. A lone man stands at a grave, blocking our view of the name etched into the stone. Raymond Reddington holds his baseball cap in his hand, his expression tight. Almost as if he doesn't want to be there at all.

A figure approaches from behind him. We see a pair of designer heels. Expensive. The woman that fills them speaks in an accented voice -

VANESSA  
I never really worked for you, even if you paid the bill.

Reddington turns, his smile forced, and we finally catch a glimpse of a familiar face: VANESSA CRUZ. She nods towards the gravestone.

VANESSA (CONT'D)  
I worked for her.

Red finally moves, giving us a clear view of Kate Kaplan's gravestone. Fresh flowers rest in a vase.

RED  
I'm aware, and I appreciate the tip you provided in regards to Pharaon.

VANESSA  
Then we're done.

She turns, taking that as the close of the transaction.

RED  
While you're at it -

VANESSA  
We're even, and from what I hear, you can't afford the rate I charge.

Her smile is daring.

VANESSA (CONT'D)  
Looks like you've joined the rest of us on the ground.

Reddington chuckles at that, his gaze sweeping her attire.

RED  
You look nice. For someone on the ground.

VANESSA  
I'm working.

RED  
Yes. I'm aware. This won't take you away from your current job.

She meets his gaze. Others may fear him, but she doesn't.

There's a long moment before he nods, fitting the cap back in place as he turns to leave. He doesn't have time to waste if she's not willing to help.

RED (CONT'D)  
Very well then.

VANESSA  
What is it?

Reddington pauses, turning a curious look on her.

RED  
Just a small favor.

VANESSA  
And it won't get in my way?

RED  
I wouldn't dream of coming between you and one of your marks.

Another tense moment between them before -

VANESSA  
Alright, but it's for her. Not you.

Off Reddington and Vanessa sharing a look of careful understanding.

EXT. WALKING PARK - DAY  
A handful of people mosey through a park opposite a row of stores and restaurants. It's quiet. Uneventful.

Samar Navabi walks down the paved path in the middle of the park. She holds her phone up like she's looking at something, but as she speaks into her comm, she snaps a photo of the closed restaurant across the street.

SAMAR  
Clear from my angle.

EXT. STREET CORNER - DAY  
Ressler steps out of the way of a cyclist, glaring a little.

RESSLER  
Around back too. Aram, you got everything set up?

INT. VAN - DAY  
Aram sits at his station. He has a laptop with the screen split four ways, four different CCTV angles displayed. Liz and Tom are just a few steps away.

ARAM  
Just about.

Liz grabs a box from next to the laptop and hands it to Tom.

LIZ  
Got you something.

TOM  
Yeah?

ARAM  
Oh, that's not -

But Tom is already opening it to find what looks like an expensive watch. He pulls it out to inspect it, the smile never faltering.

TOM  
Little late for my birthday.

ARAM  
That's, uh, actually a tracker.

Both Tom and Liz look at Aram and it finally hits that they were joking with each other. He manages an awkward chuckle.

ARAM (CONT'D)  
But you knew that. Right.

TOM  
Anything I should know about it?

Some of the tension eases out of the situation.

ARAM  
It's fitted with GPS tracking and one-way audio. There's even a sensor on it that'll give us a read out on your pulse.

TOM  
Hoping not to have a reason to need that. How do we bypass security?

Aram points to a small button on the watch.

ARAM  
Right. So there's a switch here so that you can turn it off. You'll just need to find a way to turn it on once you're inside.

TOM  
I think I can manage.

A knock draws their attention to the door as it opens, Ressler leaning in.

RESSLER  
Waiting on you.

Tom fits the watch onto his wrist as Aram grabs a bag and sets it up on the desk housing his equipment.

ARAM  
(re: the bag)  
We can still add the money with the tracer so that we can -

TOM  
Trust me. These people know what they're doing. They'll see it a mile away.

He grabs the bag.

EXT. STREET - DAY  
Tom approaches the restaurant, clearly marked CLOSED.

He pauses at the door, waiting, and for a long moment no one responds to his presence. Finally it opens.

INT. RESTAURANT - CONTINUOUS  
Tom follows a waiter into an large, open room. There's a bar to the right, fully stocked, and tables littered throughout with chairs still stacked on them.

Two men that look like they could break him without a second thought approach. Tom extends his arms before they have to give instruction. They wand him down, finding his cell phone and a gun tucked into the back of his slacks.

Once they disarm him, they escort him to a table in the back. He takes a seat and they positioned themselves like statues at the exits. He moves subtly to activate the tracker.

INT. VAN - DAY  
Liz leans over Aram's shoulder, watching as Tom's stats and an audio file flicker onto the computer screen.

ARAM  
We're live.

INT. RESTAURANT - DAY  
A man exits from the kitchen and Tom looks over. Marcus. Another day, another tailored suit. He has a tablet in hand and offers a polite smile as he takes the seat opposite Tom. He's all business.

MARCUS  
David Balthis.

He waits for Tom to acknowledge the name.

MARCUS (CONT'D)  
We built this identity for you over a decade ago. Deep cover, full work-up and papers.

TOM  
Yeah, well, they say even good things eventually come to an end.

MARCUS  
That they do.  
(pointedly)  
Including your association with St. Regis.

Tom blinks, surprised, and Marcus' smile is dangerous.

**END ACT ONE**


	3. Act Two

**ACT TWO**

INT. - VAN - DAY  
Liz and Aram sit listening to the exchange. Both rigid. Nervous. Liz hides it better than Aram does, but only just.

ARAM  
He said they wouldn't know.

She shoots him a look.

LIZ  
Ressler, Samar, you guys getting this?

EXT. STREET CORNER - DAY  
Ressler is on the move, keeping his presence inconspicuous.

RESSLER  
Yeah. They've got the doors covered. We don't have a straight path in if this goes south.

EXT. ALLEYWAY - DAY  
Samar passes by an alleyway. There's a town car idling outside the back of the restaurant.

SAMAR  
I have eyes on the vehicle.

She discretely snaps a photo of the car with her phone.

EXT. STREET CORNER - DAY  
Ressler looks towards the door.

RESSLER  
Let's see how it plays out.

INT. RESTAURANT - DAY  
Tom hasn't moved an inch. Marcus' gaze is focused on him and that dangerous smile remains in place.

MARCUS  
Don't worry. Whatever went down between you and your previous employer isn't any of our concern.  
(then)  
As long as you can pay.

Tom nods, his expression hard as he speaks, and he lifts the bag at his feet and sets it on the table.

TOM  
Balthis needs to be scrubbed and I need a new, clean identity. Fast. You'll get the back half when I have the documents.

Marcus eyes the money and pulls a burner from his suit pocket. He slides the phone across the table.

MARCUS  
We'll be in touch.

INT. POST OFFICE - NIGHT  
Aram sits at his desk, his focus absolute. His computer screen shows several windows overlapping each other. One shows a grainy photo of a license plate, the others hosting a variety of documents linked to the photo and the car.

SAMAR (O.C.)  
You about ready to go?

Aram is pulled from his focus and finds Samar behind him.

ARAM  
Ready to... What time is it?

SAMAR  
Nearly seven-thirty. The reservations are at eight.

ARAM  
Oh.

He looks back at his computer and then to her again.

ARAM (CONT'D)  
I can, um... I can wrap up what I'm doing and -

SAMAR  
I'll cancel.

Her voice is even, no sign of irritation, but Aram isn't sold. She pulls her cell phone from her pocket and taps at the screen, efficiently canceling their dinner plans.

ARAM  
Really, I can -

SAMAR  
It's alright. We'll just reschedule. What have you found?

Aram's shoulders sag and he pulls up a set of tabs that weren't immediately obvious.

ARAM  
A web. Seriously... One name leads to another leads to another and I haven't found the end yet.

SAMAR  
Well, this IS what they do.

ARAM  
I sent some of the footage over to Mr. Reddington hoping that maybe one of his contacts would be able to pull something up. I haven't heard anything back from him yet.

SAMAR  
There's a lot of information there. What can I do to help?

He starts to protest, but stops. He nods slowly and turns back to the screen.

ARAM  
So, as far as I can tell, they're layered shell companies...

INT. OFFICE SPACE - MORNING  
Jemma enters, worn and tired. Her feet drag. Her shoulders slouch. She passes Stan's desk.

STAN  
You're late. Marcus left your assignment on your desk.

JEMMA  
I'm working on the Masterson case.

STAN  
He said this one takes front seat. There's a rush on it.

Jemma frowns and Tom's file stares back at her.

INT. LOFT APARTMENT - DAY  
Dembe opens the door to let Liz enter the loft-styled apartment. There are boxes and racks of clothes, as if someone is using the space for storage.

Reddington stands in front of a full length mirror. He has exchanged his jeans and button up for a suit. It's not his usual cut, but still several steps up from what he's been wearing lately. He could walk into a board room and no one would question it.

He doesn't turn as Liz approaches from behind.

RED  
I hear Tom met with Marcus.

LIZ  
He met with somebody from Pharaon. The guy didn't give him a name.

Red tugs at the coat, frowning.

RED  
Marcus is obsessed with control and wouldn't leave a meeting to chance.

LIZ  
I was hoping you had more information about him. We need to know who he is.

He turns toward her now.

RED  
What do you think?

LIZ  
About Marcus?

He doesn't answer the question, but instead he turns back to the mirror, fiddling with the lapels on the jacket.

RED  
It needs a vest.

LIZ  
It's fine.

RED  
That's about all it is.  
(then)  
What do you know about H&I Consulting?

LIZ  
Nothing. Why? Are they connected to Marcus?

He reaches to a side table and snatches a folded slip of paper. Liz takes it, and as Red speaks she looks over it.

RED  
The license plates that Agent Mojtabai provided belonged to a car that was purchased by a shell company called Matthis Inc.

LIZ  
This isn't the car that Samar saw.

RED  
No, that vehicle was purchased by an individual who was paid a consulting fee from the very same shell company.

LIZ  
So how does this lead us back to... what was it?

Reddington offers an enigmatic smile.

INT. POST OFFICE - DAY  
The team is gathered around, details about H&I Consulting showing across the screen.

ARAM  
Hatchins and Ivy Consulting. Created in 1965 by David Hatchins and Bill Ivy as an Ad company. Super successful. It's currently run by Charles Bennett. Hatchins' nephew. Working backwards from what Mr. Reddington gave us -

The money trail that Aram has been following appears on the screen along with the details for H&I.

ARAM (CONT'D)  
It's buried, but I did find the link between H&I and the shell company that paid for the car.

COOPER  
Keen, you and Ressler pay Mr. Bennett a visit. Find the solid link between this Marcus guy and H&I Consulting.

RESSLER  
I thought Reddington was still broke. How'd he get the information so fast?

LIZ  
I asked him the same thing.

SAMAR  
And?

LIZ  
All he would say was that he had a reliable source on the inside.

INT. ELEVATOR - DAY  
Marcus stands in a moving elevator, H&I CONSULTING etched into the mirrored wall behind him. The elevator chimes, an automated voice announcing that they are on the first floor and the doors open to reveal -

Vanessa Cruz. She's dressed in a business suit, heels, and a pair of rectangular glasses rest on her nose. They are a little too big for her face, giving her a more bookish appearance than she usually sports. She's wearing an ID badge with her photo and the name MELANIE CARMICHAEL, HUMAN RESOURCES next to it. She flashes a warm smile, and greets him in a New York accent.

VANESSA  
Marc.

He returns the smile, charmed by her. As she tries to slide into the elevator he catches her arm, pulling her aside.

MARCUS  
Are we still on for tonight?

VANESSA  
Marc, you know how I feel about discussing this at work.

MARCUS  
Then just say yes or no.

VANESSA  
Yes. Of course.

He releases her.

MARCUS  
Tonight then.

As he starts to move towards the front exit Vanessa steps inside the waiting elevator, pressing a button. She holds the door open along with it.

A moment passes, then another. When she's sure he's gone she steps out. The doors close and rocket the empty car upward. Vanessa starts down the hallway opposite the front entrance.

Her expression hardens as she approaches an exit clearly not used for welcoming guests. She badges the door open and Raymond Reddington enters.

VANESSA  
We don't have long.

INT. SUV - DAY  
A cell phone rings and Ressler punches the DECLINE button on his steering wheel. Liz shoots him a skeptical look from the passenger's seat.

LIZ  
That's the second time it's rung since we landed. You need to call them back?

RESSLER  
No. It's fine. I'll handle it when we're done.

Liz's tone turns teasing as she says -

LIZ  
Might be your buddy needing help to dump another body.

Ressler shoots her an uncomfortable look out of the corner of his eye as they turn. A skyscraper with the name H&I CONSULTING comes into view.

LIZ (CONT'D)  
I'm kidding.

RESSLER  
I know.

They pull into a parking garage connected to the building.

LIZ  
You'd tell me if something was wrong, wouldn't you?

The SUV pulls to a stop and Ressler doesn't answer. Instead he rolls down the window and flashes his badge.

RESSLER  
Special Agents Ressler and Keen here to see Charles Bennett.

EXT. GARDEN - DAY  
Jemma sits on a bench in a courtyard. It's a small space cut out for employees to go without leaving the grounds, and security is visible at the exit leading to the street. She looks every bit the prisoner that she is.

Footsteps echo behind her and she doesn't bother turning. Instead she takes another long drag from her cigarette.

RED (O.C.)  
Not quite what you hoped it would be, is it?

Jemma finds Reddington smiling down at her. She straightens and looks past him to see Vanessa standing a few feet back.

RED(CONT'D)  
(re: Vanessa)  
Oh, don't worry about her. She's with me.

JEMMA  
And who are you?

RED  
A visitor. With a special interest. May I sit?

She doesn't tell him no, but she doesn't agree either. He takes a seat next to her and she watches him carefully.

RED (CONT'D)  
I'm here to offer you a job.

JEMMA  
I have a job.

Reddington chuckles.

RED  
I never would have done well at a desk or a nine to five. Too restrictive. Too... dull.

JEMMA  
(flatly, as if repeating)  
They take good care of me here.

RED  
I'm sure that's what they say. I know your work. The identity you forged for Derek Brightner was exquisite, and you haven't even hit the peak of your career. I could -

JEMMA  
What is this? Some kind of test? Marcus send you to make sure I'm not about to take off again?

RED  
I can assure you, Jemma, I'm not here on Marcus' behalf.

VANESSA  
Reddington, I don't have all day.

JEMMA  
Reddington? Raymond Reddington?

RED  
One and the same.

JEMMA  
What do you want from me?

RED  
Exactly what I said. I came to offer you a job.

JEMMA  
I can't.

RED  
And why is that?

JEMMA  
Marcus -

RED  
You don't have to worry about Marcus.

JEMMA  
Then you don't know him at all.

Jemma stands and moves briskly back into the building. She passes Liz and Ressler who are being escorted in.

Liz turns, and it's clear that she sees Red and Vanessa in the courtyard. Her eyes meet Reddington's.

**END ACT TWO**


	4. Act Three

**ACT THREE**

INT. H&I CONFERENCE ROOM - DAY  
Liz and Ressler are waiting in the conference room, the hallway visible through a set of large, glass doors.

RESSLER  
Did you know Reddington was going to be here?

She looks towards him, her frustration barely contained.

LIZ  
He failed to mention it.

RESSLER  
Just once I'd like to know what his angle is before we get sideswiped by it.

Muffled voices draw their attention to a man and woman on the other side of the door. CHARLES BENNETT (late 50's) is tall and dressed in a glen plaid suit. The woman has several files stacked in her arms and she nods before he turns to leave.

The woman - HEIDI DONNOVAN (35) - approaches the door.

HEIDI  
Agents Ressler and Keen? My name is Heidi Donnovan, Mr. Bennett's Personal Assistant. I have the files you requested -

LIZ  
Our appointment is with Mr. Bennett.

HEIDI  
There's been a conflict in his schedule. He was called away to our Chicago office.

LIZ  
(re: Bennett)  
Was that him?

HEIDI  
Yes, but -

Liz pushes past her and out the door, Ressler behind her.

INT. H&I CONSULTING - HALLWAY - CONTINUOUS  
Liz catches up with the man we saw through the door.

LIZ  
Charles Bennett?

Bennett turns, startled at being chased down.

BENNETT  
Yes?

Liz flashes her badge.

LIZ  
I'm Special Agent Elizabeth Keen. We had an appointment with you.

He shoots an exasperated look over Liz's shoulder at Heidi.

BENNETT  
Agent Keen, I have a flight that can't wait.

Ressler approaches.

RESSLER  
That's the thing about private jets. They fly on your schedule.

LIZ  
We're willing to walk and talk if you are.

Bennett looks uncertain for a moment before giving in. He motions for Liz and Ressler to follow him down the hall.

BENNETT  
You have until I reach my car.

INT. KEEN APARTMENT - KITCHEN - DAY  
AGNES KEEN babbles happily in her high chair, cheerios in her hands and she flings a handful at Tom who is seated at the kitchen table. He's focused and scribbling in a notebook that has the name OLEANDER written at the top. A cheerio pegs him in the face.

TOM  
Really?

Agnes giggles and he shakes his head.

TOM (CONT'D)  
Guess I've been kinda distracted lately, huh?

His phone buzzes on the table and he picks it up, frowning.

TOM (CONT'D)  
What?

INT. CAR - DAY  
Reddington sits in the back seat of a town car, Dembe driving. He has a phone pressed to his ear.

RED  
I assume you haven't heard back from Marcus yet?

INT. KEEN APARTMENT - INTERCUT - DAY

TOM  
They're fast. They're not that fast.

RED  
I need you to reach out to him and set a meet.

Tom closes the notebook.

TOM  
You do know I'm working with the Task Force on this, not you?

RED  
And this will help further their investigation.

There's a beat of silence.

RED (CONT'D)  
Tom?

Tom looks over at his daughter. She's no longer laughing, as if reading how his mood has soured.

TOM  
Yeah, I'm here.  
(then)  
I'll call you when I have a time and location.

EXT. TETERBORO AIRPORT - RUNWAY - DAY  
Liz stands off to the side, just out of the way of the overwhelming roar of the aircraft's engines. She has a phone pressed to her ear and Ressler is waiting on her.

LIZ  
I just wanted to make sure you got all the digital files.

INT. POST OFFICE - INTERCUT - DAY  
Aram looks at a long list of names and photos.

ARAM  
Got them right here. It's crazy how many employees they have named Marcus. I mean, I have ten already, and that's only in the New York and LA offices.

Samar leans over his shoulder.

SAMAR  
Did you get anything useful out of Bennett?

LIZ  
Just that I didn't trust a word coming out of his mouth.

SAMAR  
Why, exactly?

Ressler motions from the plane.

RESSLER  
Keen! Let's go!

LIZ  
I don't know yet. See what you can find on him? We're on our way back.

Liz ends the call.

INT. POST OFFICE - DAY  
Ressler enters from the lift. He's alone.

RESSLER  
Aram, tell me you've got good news.

Aram is at his desk, deep in research.

ARAM  
I'm still narrowing down the search on the names. Samar and I have been digging into Charles Bennett like Agent Keen asked.

He looks around.

ARAM (CONT'D)  
Where is Agent Keen?

RESSLER  
She got a call from Tom. Something about Reddington asking him to set a meet with Marcus.

ARAM  
That's great! It'll mean we can bring him in right?

RESSLER  
Maybe. We'll at least have eyes and ears on the meet. What'd you find on Bennett?

Information on Charles Bennet fills the large screen.

ARAM  
He's the son of Meredith Hatchins-Bennett and the only immediate living relative that David Hatchins had when he died.

SAMAR  
It's all documented, but unverifiable.

ARAM  
We've been on the phone with a dozen people today and none of them could give a clear confirmation on actually knowing him.

SAMAR  
So far it's just on paper.

RESSLER  
Sounds a little too neat.

SAMAR  
Liz may have been onto something.

RESSLER  
Keep digging. Until Tom is able to set that meet with Marcus this is our next-best lead.

INT. KEEN APARTMENT - LIVING ROOM - DAY  
Tom fits his jacket over his shoulders as Liz holds Agnes.

LIZ  
I don't like it.

TOM  
Either you want me to work with him or you don't. You can't have it both ways.

LIZ  
It's not that simple anymore, babe.

Tom fastens the tracker-watch onto his wrist.

TOM  
I know.

Liz sets Agnes down on the rug with her toys. By the time she straightens Tom is there, standing right in front of her, and he puts a hand to her cheek.

TOM (CONT'D)  
Think of it this way: you have a man on the inside letting you know what Reddington's really after.

She cracks a smile at that.

LIZ  
Just as long as the man on the inside comes home after it's done.

Tom leans down, kissing her. As they part, both caught in the moment, he breathes -

TOM  
Promise.

INT. RESTAURANT - KITCHEN - NIGHT  
The restaurant is bustling. Cooks cooking, waiters serving, and Tom Keen stands with one of the giant guards from earlier. He's been waiting a while.

Marcus approaches, and he's not happy.

MARCUS  
I told you that I'd call you.

TOM  
I wouldn't have contacted you if it wasn't important.

MARCUS  
It better be. We have our protocols for a reason. Your protection... and ours.

A guard that is almost as big as the one that is standing with Tom steps over to whisper something in Marcus' ear. Marcus' gaze snaps to Tom.

MARCUS (CONT'D)  
Search him.

The two guards close in on Tom.

TOM  
C'mon, guys. We did this an hour ago when I walked in.

They search him, tugging his jacket from his shoulders and one man takes an interest in his watch.

MARCUS  
Check it.

TOM  
You've got to be kidding me.

One guard scans the watch and it lets off a shrill sound. A warning. Marcus looks over to Tom whose face has gone carefully blank. The guard takes hold of him.

MARCUS  
I see why you were so insistent. Who are the people in the van outside? Feds?

Tom doesn't answer and Marcus pulls his gun from its holster and screws the suppressor into place. None of the restaurant's employees react to what's happening.

MARCUS (CONT'D)  
Okay.

TOM  
Wait. Just wait. They're not mine.

MARCUS  
Then whose are they?

RED (O.C.)  
They're my people.

Marcus turns just in time to see Reddington stride into the kitchen like he owns the place. He's smiling that infuriating smile that warns his opponents that he's been three steps ahead of them this whole time.

MARCUS  
He's with you?

RED  
You could say that.

The largest guard takes a step forward towards Red, but Dembe moves between them, stopping him.

MARCUS  
What for? There are easier ways to reach out.

RED  
You don't take my calls.

MARCUS  
Must be that pesky little rumor that says you're broke.

RED  
Am I? Then who funded Mr. Balthis here?

He lets that sit for a moment.

RED (CONT'D)  
I have information that will be to your benefit.

MARCUS  
And I assume you want something in return?

RED  
Information doesn't come free.

Marcus motions and the guard looses his grip on Tom.

MARCUS  
I'm listening.

RED  
The FBI may not be outside this door, Marcus, but they ARE on your doorstep. Two agents met with Charles Bennett today at your parent company's headquarters.

Marcus stares at him.

MARCUS  
No.

He pauses, the wheels turning wildly, and he pulls himself back under control.

MARCUS (CONT'D)  
Alright. Let's say you're right and this leads to something useful. What do you want?

RED  
I want your forger. Jemma Green.

MARCUS  
I have the intel. What makes you think I'll give her over?

RED  
If you don't, the FBI may just find their way to your door as well.

INT. MARCUS' OFFICE - NIGHT  
Marcus sits at his desk and stares at the footage he's snagged of Liz and Ressler at H&I. They're speaking to Bennett in the hallway, and as the video progresses and Bennett willingly walks off with them, we see Marcus' expression grow more and more distraught.

A knock at his door makes him jump.

Vanessa is there, her suit jacket off and her blouse hanging open just enough to entice the imagination.

VANESSA  
I was starting to think you just blew me off, but look at you working away.

MARCUS  
(numbly)  
I had an offsite meeting.

VANESSA  
How'd it go?

Marcus' expression is uneasy.

MARCUS  
I got some valuable information. Rain check?

VANESSA  
Hmm?

MARCUS  
On dinner?

VANESSA  
Of course.

He watches her for a long moment and finally Vanessa takes the hint and accepts the dismissal reluctantly. She turns and Marcus reaches for his phone.

MARCUS  
Yeah. I need you to get me Jemma Green's home address.

INT. APARTMENT - NIGHT  
Reddington sits alone in what appears to be an empty apartment. It's small, but nice. Not up to his usual standards, but better than the motel. He has a glass of brandy in his hand and he's going over some files.

The door opens and he doesn't look up until Dembe speaks, holding a cell phone out to him.

DEMBE  
She's just going to keep calling.

As he snatches the phone -

RED  
I never should have given her this number.

He flips it open.

RED (CONT'D)  
Ms. Cruz, to what do I owe this late pleasure?

EXT. MANHATTAN STREET - INTERCUT - NIGHT  
Vanessa is walking down the street. People move past her and she doesn't bother containing her seething anger.

VANESSA  
Reddington, you bastard!

RED  
You'll have to be more specific.

VANESSA  
Marcus.

Reddington tilts his head. Ah. That didn't take her long.

RED  
I assure you -

VANESSA  
Don't bother. Just stay away from Marcus. He's MINE.

She ends the call abruptly, storming down the street.

INT. APARTMENT - NIGHT  
Reddington is left staring into the darkness with the phone still in hand. He looks over to Dembe.

DEMBE  
This could be a problem.

RED  
Not as long as Marcus delivers the forger.

Off Red and Dembe sharing a meaningful look.

INT. MANHATTAN APARTMENT - NIGHT  
Jemma walks across the open apartment. It's large, expensive, but she's put very little work into filling it with anything. There are a few pieces of furniture - less expensive - but no photos or decorations.

She's already dressed for bed in her oversized t-shirt and fuzzy socks. Her hair is tied up on top of her head and she has a bowl of popcorn in her hand. She flops onto the deep couch and grabs for the remote.

A loud, aggressive pounding sounds off from her front door. Jemma straightens where she sits, startled, and carefully reaches under her couch for a baseball bat. Gripping it, she creeps towards the door.

JEMMA  
Who's there?

MARCUS (O.C.)  
Open the damn door, Jemma!

An irritated sound escapes her as she tugs the door open.

JEMMA  
What the hell, Marcus?

MARCUS  
Get dressed. We have to go.

JEMMA  
Listen, you may own my soul during office hours, but that doesn't mean that I'll -

Marcus pulls his gun, aiming it at her.

MARCUS  
I said: get dressed.

**END ACT THREE**


	5. Act Four

**ACT FOUR**

We open over Washington DC, the sun climbing in the morning sky.

RED (V.O.)  
Michael Galloway.

INT. POST OFFICE - DAY  
The team is gathered around, Reddington joining them.

RESSLER  
You get the name from Vanessa Cruz?

Reddington turns towards him.

RESSLER (CONT'D)  
What? Did you think we wouldn't see her yesterday at H&I?

RED  
One of my greatest assets to you are my criminal contacts.

LIZ  
I think what Ressler is trying to get at is that having that woman in the middle of our case could blow the whole thing.

RED  
And wiring your husband up so the FBI could listen from their overly conspicuous van could have got him killed.

Half a beat. Red smiles, bobbling his head.

RED (CONT'D)  
(pleasantly, pointedly)  
But it didn't.

COOPER  
Enough. Who is Michael Galloway?

RED  
Ah yes. Michael Galloway is the name Charles Bennett was born under.

COOPER  
Why are we just hearing about this?

RED  
It just came to my attention.

SAMAR  
From Vanessa Cruz?

RED  
From Marcus, though you would have found his H&I profile under Bailey.

LIZ  
Why would he just tell you that?

RED  
Like everyone, he wants something. I also want something. We were in negotiations and some additional information fell onto the table.

He holds up a jump drive.

ARAM  
What is it?

RED  
A blackmail file. We've seen how useful those can be from time to time.

Aram takes the jump drive and inserts it into his computer.

Liz shoots Red a warning look.

LIZ  
We need Marcus.

RED  
Marcus, like so many, is a means to the end. Don't worry, Elizabeth. You'll get your man.

Proof of Michael Galloway's journey to becoming Charles Bennett explodes onto the screen.

EXT. H&I CONSULTING - DAY  
Sirens wail as police cars and several black SUVs come to a halt outside of the skyscraper.

INT. H&I CONSULTING LOBBY - MOMENTS LATER  
Liz, Ressler, and Samar lead police and FBI agents into the building. Samar splits off from them to speak with the head of security at his desk. She flashes her badge.

SAMAR  
We need every exit sealed, no one in or out, and full access to the building.

He nods. Liz and Ressler meet Heidi Donnovan as she exits the elevator, already speaking.

HEIDI  
Agents Keen and Ressler, I'm so sorry but Mr. Bennett is -

RESSLER  
Here. We verified his flight records.

LIZ  
Take me to him.

Heidi nods slowly.

Liz follows Heidi, leaving Ressler and Samar behind to search for Pharaon.

Ressler reaches up to his comm.

RESSLER  
Aram, do you have anything yet?

INT. POST OFFICE - DAY  
Aram sits at his computer, schematics pulled up in front of him. One office space on the eighteenth floor is highlighted.

ARAM  
Looking at the layout there's one office with a ton more security. It looks like the only space on that floor too.

INT. H&I CONSULTING HALLWAY - DAY

RESSLER  
Where are we going, Aram?

ARAM (O.C.)  
Eighteenth floor.

INT. CEO'S OFFICE - DAY  
Bennett is scrambling to stuff files into a briefcase and his office phone cycles around to a voicemail.

MARCUS (O.C.)  
You've reached Marc Bailey with H&I Consulting, Data Analysis Department. I'm in a meeting or on another line right now, but please leave your -

He slams a hand against the phone, ending the call.

LIZ (O.C.)  
I don't think you're going to reach him.

Bennett snaps upright. His hand snakes down under his desk and she has her gun on him instantly.

LIZ (CONT'D)  
Hands where I can see them.

He obliges.

BENNETT  
I'm not the one you want.

LIZ  
Not the only one. We know about Pharaon. Where are the files?

BENNETT  
I have no idea what you're talking about. I want my lawyer.

Before she can say anything else, Liz's comm beeps and Ressler's voice filters through -

RESSLER (O.C.)  
Keen, we've got a problem.

INT. OFFICE LOBBY - DAY  
Ressler, Samar, and several federal agents stand in the lobby just outside of Pharaon's office space. The area is in full lockdown and the receptionist glares daggers as Samar snaps cuffs on her.

INT. WAREHOUSE - DAY  
Light streams in from the large, dusty windows as Red and Dembe wait. The sound of an approaching vehicle draws their attention and a black BMW pulls into the open warehouse.

Marcus gets out, circling immediately to the passenger side. He yanks the car door open and half-drags Jemma out.

Red immediately takes a step forward, but Dembe moves quicker to brush Marcus off the angry young woman.

Marcus turns to Red.

MARCUS  
You wanted her, you have her. Now it's your turn.

JEMMA  
(re: Red)  
YOU.

RED  
I never said to manhandle the poor girl.

MARCUS  
She's fine. And here.

RED  
As are you.

MARCUS  
If the FBI is raiding H&I it's only a matter of time before they track me down. I don't -

RED  
Marcus.

He waits until the man looks over.

RED (CONT'D)  
I promised you that if you were to arrange for Ms. Green's release that the FBI wouldn't touch you.

MARCUS  
And here she is.

RED  
And here she is. Dembe, would you take Marcus here to the safe house?

Dembe takes a firmer hold on Marcus, leading him back to the town car. Red and Jemma watch them go.

RED (CONT'D)  
The intention was for him to give you his blessing, not to have him coerce you here. Are you hurt?

JEMMA  
I've been through worse.  
(then)  
What do you want from me anyway? I may be good, but so are a dozen other forgers. Probably a lot less trouble than this was.

RED  
Perhaps, but there's only one you.

He pauses, tilting his head to study her.

RED (CONT'D)  
I'm rebuilding, and with that comes certain needs. You fit those needs.

JEMMA  
And now I owe you, is that it?

RED  
Good gracious no. You can stay or leave all on your own terms, Ms. Green, but you know who I am. I reward loyalty. If you choose to give it.

She watches him, weighing the words...

INT. OFFICE LOBBY - DAY  
Liz enters with a reluctant Bennett in tow. Lights are flashing over the heavy door leading back into Pharaon's office space and Samar approaches Liz, nodding towards the receptionist as she speaks.

SAMAR  
It went into lockdown as soon as she hit the alarm.

The receptionist looks pleased with herself.

LIZ  
(to Bennett)  
Open it.

BENNETT  
Only Marcus has the access code.

RESSLER  
You expect us to believe that the CEO of the company doesn't have an override code?

BENNETT  
I told you people I'm not the one you want. Whatever Marcus was doing he didn't tell me -

LIZ  
Michael Galloway.

Bennett slams to a stop mid-lie, startled by the name. Liz smirks, tilting her head very slightly in a way reminiscent of Reddington.

LIZ (CONT'D)  
We know who you are and what you did to become Charles Bennett. If you want any hope of a deal, you'll unlock that door.

Bennett is gaping at her now, his expression devastated.

BENNETT  
It's already too late.

LIZ  
Open it anyway.

Finally Bennett nods, moving over to the reception desk and he keys in a code. The alarm shuts off and the door unlocks.

INT. PHARAON OFFICE - DAY  
Liz, Ressler, and Samar lead in, finding every employee in the office with their hands up and away from their computers. They're perfectly calm. Too calm.  
Ressler moves to the nearest computer, but it won't respond. It's been wiped.

RESSLER  
Get Aram patched in. Now.

INT. PHARAON OFFICE - DAY  
In two of the outer offices, Ressler and Samar coordinate one-on-one interviews with each of the employees.

A WOMAN sits opposite of Ressler -

WOMAN  
I don't know what Pharaon is. The company's name is H&I Consulting. I've been here nearly ten years. It's never been anything else.

Stan is seated across from Samar -

STAN  
Our department handles data mining. The legal kind. I'm an analyst, not some criminal.

SAMAR  
Then why did you wipe your computer?

In the room with Ressler -

WOMAN  
There was a power surge.

In the room with Samar -

STAN  
Everything just sparked and went dead.

Moments later, Samar and Ressler reconvene out of earshot of the Pharaon employees. They have a cell phone between them.

COOPER (O.C.)  
What have you found?

RESSLER  
The employees have their stories down. Every one of them lines up.

SAMAR  
They were trained for this.

RESSLER  
Has Aram been able to connect to the system?

INT. POST OFFICE - DAY  
Aram sits at his station, fingers pausing over the keyboard.

ARAM  
Uhhhh.. Yes. Sort of. I'm in, and while I can tell that their data was backed up, I haven't been able to pinpoint where it was sent to.

Cooper leans in closer to the comm.

COOPER  
How's the interrogation going with Bennett?

INT. PHARAON OFFICE - DAY

RESSLER  
Liz is in with him. I hope she's having more luck than we are.

INT. H&I CONFERENCE ROOM - DAY  
Bennett sits cuffed to a chair, Liz opposite him.

LIZ  
Walk me through it. Was it Hatchins or his company that you were after when you posed as his nephew?

BENNETT  
I told you: I want my lawyer.

LIZ  
A lawyer can't save you from going away for a long time for the scam you pulled. Right now, I'm the best chance you have.

BENNETT  
And exactly what do you want from me, Agent Keen? To hear that it was easy? That the old man had no one and was so desperate for family in the end that he overlooked any warning signs?

LIZ  
So you gave him that?

BENNETT  
I just gave him what he wanted.

LIZ  
And then you got what you wanted.

BENNETT  
MARCUS got what he wanted. I keep telling you: Pharaon was Marcus'. Whatever he did in there, I can't help you with it.

Their gazes remained locked until Liz's phone buzzes. She sees NICK'S PIZZA on the caller ID.

LIZ  
I think you're lying. Just like you were lying when you told us you didn't have access into the office. Take a minute to think about it.

She steps out of the conference room and answers the phone...

LIZ (CONT'D)  
(hushed)  
Please tell me you have Marcus.

INT. SMALL ROOM - DAY  
Reddington stands with the phone pressed to his ear, leaning back against a desk. Jemma is perched on it, a laptop in her lap. She made her choice.

RED  
I have something better.

**END ACT FOUR**


	6. Act Five

**ACT FIVE**

INT. COCKTAIL BAR - NIGHT  
The room is empty save the bartender who is checking his stock and Raymond Reddington who sits in a large, overstuffed chair with a glass of brandy on the table next to him and a book in his hand. He's exchanged the Count of Monte Cristo for Homer's The Odyssey.

The front door opens and Dembe enters with Vanessa Cruz. She doesn't look happy to be there.

VANESSA  
(re: Red)  
You have some nerve.

Reddington doesn't respond immediately, but finds a stopping place and slips a bookmark in before closing the book. He looks up, a pleasant smile on his lips.

RED  
I see you heeded my warning and missed the raid. You're welcome.

VANESSA  
I'm not thanking you for coming in and ruining the job I was on. Marcus was mine.

RED  
Sit down. Have a drink. Bennie has a true talent.

The bartender glances over, offering a nod of thanks. Vanessa continues to glare, seething.

VANESSA  
I assume you are walking away with the forger.

RED  
I am. In large part thanks to you. I don't let loyalty go unrewarded.

On cue, MORGAN leads Marcus from the back, pulling the bag from Marcus' head and pushing him forward.

Marcus blinks, eyes adjusting, and he looks directly at Red.

MARCUS  
You said you'd let me go if I got you what you wanted.

RED  
No, I told you that I'd make sure that the FBI didn't take you into custody. They haven't.

MARCUS  
I got you everything. I got you the file and the girl and -

He stops and looks at Vanessa as if noticing her for the first time.

MARCUS (CONT'D)  
Melanie.

Vanessa's expression is cool and she glances to Reddington as he motions.

RED  
A thank you gift for you, my dear.

Vanessa acknowledges it and turns her attention on Marcus who is slowly putting the pieces together.

VANESSA  
Hello, Marcus.

MARCUS  
Who are you really?

VANESSA  
Who I am doesn't matter. This is about Alice Carter.

Marcus instantly knows who that is.

RED  
Morgan here will transport you and Marcus wherever you need to go.

She steps back as Morgan puts the bag back over Marcus' head. Muffled, angry curses are heard from under it as he takes him out through the back.

Vanessa starts to follow, but Red's voice stops her.

RED (CONT'D)  
Why did you do it?

VANESSA  
Do what?

RED  
Allow me access to Jemma. And don't say it was for Mr. Kaplan. You and I both know how that ended.

There's a heavy pause, both watching each other as if searching out signs of weakness. Finally Vanessa allows the smallest of smiles to touch her lips.

VANESSA  
I never believed her when she talked about you. Not really. No one in our business deserves the kind of loyalty she had for you.

Reddington stiffens in his place.

VANESSA (CONT'D)  
I don't know what caused the break between you and Mr. Kaplan, but I do know that she loved you once. You should know that.

Without another word she turns, leaving Red frozen in his seat as she walks through the back.

INT. POST OFFICE - INTERROGATION ROOM - NIGHT  
Bennett sits across the table from Ressler. He's disheveled. Dethroned. Desperate.

BENNETT  
Your partner - Keen - she told me I could cut a deal. If I help you that you'll help me.

Ressler shakes his head, almost amused by the attempt. As he speaks we see FBI agents raiding a warehouse.

RESSLER  
That was hours ago. Before our people found your offsite servers.

Aram is working through the data, information much like the blackmail file that they had been given on Bennett displayed.

RESSLER (CONT'D)  
We found everything. Every gunrunner, human trafficker, or drug lord that your people have scrubbed from existence and built new identities for. They're all going down. You with them.

Ressler watches him for a moment, the understanding clear between them that there's nowhere left to hide.

RESSLER (CONT'D)  
Was it worth it?

The question startles Bennett and his expression slowly hardens as he meets Ressler's eyes.

INT. POST OFFICE - NIGHT  
Samar sits at her desk, files out in front of her and she doesn't look up as Aram approaches from behind. He stands there a moment, staring in an awestruck manner.

SAMAR  
Yes?

ARAM  
I just, uh... Sometimes I just remember how beautiful you are.

Samar looks up at that.

SAMAR  
I'm running on a handful of hours of sleep in the last seventy-two, none of which I managed to catch in my own bed.

ARAM  
I know, and you may just want to head back to your place and sleep, but if you're up for it I, uh...

He hands Samar his cell phone and she sees the dinner reservation already made.

SAMAR  
Ho Kow?

ARAM  
If you're up for it.

Samar closes the file she was working on.

INT. POST OFFICE - OUTSIDE INTERROGATION ROOM - NIGHT  
Liz stands with her arms crossed and watching through the one-way window into the interrogation room. Ressler's gone, but Bennett remains. Reddington comes to stand next to her.

LIZ  
The intel Jemma Green provided to you panned out. We found their off-site servers.

RED  
Look at that. You got your man.

LIZ  
One of them. What happened to Marcus?

RED  
He won't be a problem moving forward.

LIZ  
What? Are you using him to rebuild?

Reddington turns his nose up at the thought.

RED  
No, Marcus was payment.

LIZ  
To who? Vanessa Cruz?

He makes a small, noncommittal sound.

RED  
He was a predator. Ms. Cruz was contracted to handle him. What she did with him is no longer our concern, though I imagine he's getting everything he deserves now.

A moment passes as Liz absorbs what he's saying.

LIZ  
(re: Bennett)  
He won't.

RED  
That blackmail file coupled with the intel on Pharaon should put Bennett away for life. Marcus wouldn't have changed that.

LIZ  
Did you know Hatchins DID have a nephew? It was buried in the file you gave us. He died years ago. From what we've pieced together, Galloway used that identity as an in to get close to him, and when it was obvious that Hatchins was going to leave the company to him, he and Marcus made sure no one would find out. He pretended to be his last living relative to con him out of everything in the end and paid his debt by setting up a criminal organization that's helped to protect dozens of terrible people.

Reddington watches her, his expression carefully masked.

LIZ (CONT'D)  
He may go away for a long time, but that doesn't mean he gets what he deserves.

RED  
And what would you do to him?

She smiles thinly, and for split second her expression is just a little darker. A little harder. As quickly as it comes, though, it lifts. She turns back to him.

LIZ  
It's late. Tom's cooking tonight. You want to come over?

RED  
I got the distinct impression your husband is still sour over what happened with Buhari.

LIZ  
You did use him as collateral.

She meets his eyes.

LIZ (CONT'D)  
He's trying. He knows how much it means to me to... have my father around.

Reddington's own smile softens a little at that.

RED  
Next time, perhaps.

LIZ  
I'm holding you to it.

She leaves through the door and Reddington's gaze turns sad as it follows her out.

INT. KEEN APARTMENT - NIGHT  
It's quiet in the apartment. The lights are turned down low and Tom is in the kitchen. He has his cell phone cradled between his shoulder and his ear.

TOM  
He's taking his sweet time with it.

NIK (O.C.)  
Hey, if you have a better place for your illegal DNA search, be my guest.

TOM  
I just need to know the truth. For Liz.

NIK (O.C.)  
She's going to be pissed when she finds out.

The front door opens and Tom glances towards it.

TOM  
You're telling me. Gotta go.

He ends the call just before Liz rounds the corner, tiptoeing and quiet.

LIZ  
(hushed)  
Is she already asleep?

TOM  
Yeah. She was dozing off in her high chair.

Liz shoots a sad look back towards their daughter's room and Tom crosses the space between them.

TOM (CONT'D)  
You get the guys you were after?

LIZ  
Most of them.

TOM  
You got Marcus though, right? That's not someone you want to leave out on the street.

LIZ  
No, I got the impression Reddington... took care of him.

He makes a small sound of acknowledgement, and Liz gives a tight smile.

TOM  
You okay?

LIZ  
Yeah, it was just a rough one. It made me think about how glad I am that the lies are behind us.

She reaches forward and wraps her arms around his neck. Tom returns the embrace. She relaxes against him, eyes closed, but his remain open and his expression is strained.

He doesn't answer, but tightens his hold on her.

**END OF EPISODE**

* * *

Notes: It's crazy, but in the year that's passed since I wrote this script, I can already see how I've grown and adjusted as a script writer. I wanted to adjust things thing so badly lol Even so, this was such a blast to write.

I have another Blacklist fic idea just sort of hanging out and waiting to see if I'll write it. I have a long list of stories before it and with the way the show keeps shifting, where it would begin keeps shifting with it. We'll see. :)


End file.
